FRAMEZDESIGN DOCUMENTATION

DXB102 Visual CommunicationCassidy Cloupetn9458883Vaughn PixnitSemester 1 2015

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DEVICEMINDMAPDEMOGRAPHICMOODBOARDAESTHETIC

INFLUENCESPROCESSLOGOPRINCIPLESVARIATIONS

RHETORICAL IMAGE

INFORMATION DESIGN

PACKAGING

REFERENCES

INFLUENCESPROCESSINFO DESIGNPRINCIPLES

INFLUENCESPROCESSNETNET & BLEEDPRINCIPLESCONSTRUCTED

LOGO

INFLUENCESPROCESSRHET IMAGEPRINCIPLESVARIATIONS

4DEVICE

FRAMEZOriginating from Kickstarters, my device, ‘Framez’ is the latest innovation in personal video recording technology. These women’s glasses have an inbuilt Full HD 1080p Video Camera that can record live video and take pictures, with the selection of both clear and tinted glass. The recorded data can be stored onits 8gb memory �ash which is then transferred via Wi�/Bluetooth or Micro USB to a computer or wirelessly transferred to most iPhone or Android devices. This device is an innovative and stylish way for people to capture and share their most signi�cant and valuable experiences. “No other product in exsistence can deliver yousuch a �rst person recording experience”(ZionEyez, 2011)

5MINDMAP

6DEMOGRAPHIC

The selected demographic that my device is aimed at is young female, around the ages of 18-25 years. This device enables this audience to re-cord and capture exactly what your seeing. “Imagine yourself recording exactly what your eyes see, whether itbe worldly travels, an outing with frie-nds or a uni lecture, no memorable event will ever be lost.” Framez provides a solution for capturing these mo-ments without compromising con-venience or style. (Zion Eyez, 2011)

Afrter exploring the many aspects ofmy device and audience as my mind-map shows, the 3 selected keywords I felt best capture the feel of my device are; Stylish, Convenience and E�cient.

AUDIENCE

7MOODBOARD

8AESTHETIC

POP ART“Pop Art was the art of popular culture. It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950's and 1960's. It coincided with the globalization of pop music and youth culture, personi�ed by Elvis and the Beatles. Pop Art was brash, young and fun and hostile to the artistic establishment. It included di�erent styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture.” (Arty Factory 2015)

My inspired style is based upon the bold and distinctive aesthetic of Pop Art. Speci�cally in�uenced by the style’s common bright use of colours alongwith Andy Wharhol’s famous poly-chromatic portrait style, as well as Roy Lichtenstein’s iconic comic-like cartoons. This aesthetic was chosenas I felt it would appeal, attract and engage the most with the young female demographic, as this style takes inspiration and reference tothe globalisation of youth pop culture.In terms of my moodboard, through the

use of images of fashion icon Audrey Hepburn, eyes, lips and prominent use of purple to portray a desire of style and femininity which further engages the speci�c audience. Also, selecting images of the cameras, glasses, text and comic to represent the literal sense of the purpose of the product. The bright and vivid colour palette presents the bold Pop Art style and reference to pop culture, along with an appeal to a young female audience through the main use of purple and bright colours.

LOGO 9

LOGO INFLUENCESThe following images have been inspirations for the Framez Logo, as they consist of various similar design components, such as Gestalt’s Principles of Closure, Negative Space and Symmetry. Speci�cally, Carrefour’s Logo utilises the tech-nique of Negative space, such as in my logo. The Youtube and Carrefour logos use the Bauhaus symbol of the Triangle which based on Bauhaus’s Principle of Visual Grammar, depicts a sense of ‘direction’ and ‘action’, which I have used and incooperated in my logo. The Youtube logo I feel e�ec-tively captures this response, for its triangular ‘play button’ is now a well-known cultural symbol and reference that relates to watching and capturing video/�lm, which has been of large in�uence for my logo design.

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PROCESS

LOGO 10

The The Design Process of my Logo begun based upon one of my original Logo Design Matrix sketches. Although exploring other various logo sketches, my original remained to be my �nal logo.The Logo design was consturcted throughAdobe Illustrator, using the techniques learnt and gained during class. By using the pen, line and shape tools along with deleting the eye-like shape in the centre of the triangular logo to create Negative Space. After drafting a few logos and experimenting with line, various colours palettes were explore upon the selected �nal logo design.

LOGO 11

LOGO 11 12

PRINCIPLESThe Logo uses shape, form and colour to create a simplistic and bold symbol to compliment both the product and Pop Art aesthetic. Consisting of Gestalt’s Principles of Closure and Negative Space as shown, highlighting the triangle shape and eyes within the the centre of the logo. The Bauhaus symbol of trian-gle to depict a sense of direction and action, as the product is capturing what your eyes see. Gestalt’s principles of symmetry has also been used to create a balanced and memorable logo. Using a compli-mentary colour scheme of yellow and purple, to follow my style as these colours are commonly used throughout Pop Art works as well as appealing for a female demographic as they are known for being ‘feminine colours’.

LOGO

LOGO VARIATIONS

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RHET IMAGE 14

RHETORICAL IMAGEINFLUENCESThe in�uences and inspirations for my Rhetoric Image continue with my style of a Pop Art aesthetic, particularly with Andy Wharhol’s in�uenced stlye of polychromatic portraits and colour.I’ve also been greatly inspired by the following Pop Art in�uen-ced advertising campaigns. Speci�cally, the Pepsi Beyonce cam-paigns and their use of Gestalt’s principle of similarity and di�er-ence in their advertisement to create a focal point for their prod-uct as well as repetition of potrait images in a grid format, techniques which I have used in my rhetoric image. Furthermore,Ray Ban Colorise Campaign uses bright bold colours compli-mented with their capitalised catchphrase to directly engage

and bring attention to the audience. Ray Bans successful brand-ing uses the persuasive technique of Logos to convey a ‘literal appeal for reseaning’ by ’exploiting language, creating a factual sounding statement’, NEVER HIDE to engage and persuade audiences to choose their product (Turner, Jane 2015). Their ad-vertising techniques and imagery for their glasses has been of great in�uence for my product’s rhetoric image. The �nal ad for U.S Contemporary Food captures a very e�ective Andy Wharhol Pop Art inspired style and creating focal points through similarity/di�erences, alike my advertisment. These Ads use of consistency of style, aesthetic and grid-like composition are all in�uences on my rhetoric images.

RHET IMAGE 15

INFLUENCES

RHET IMAGE 16

PROCESSThe Design Process for my Rhetoric Image began with ideation and development sketches in my journal.Followed by, the physical and graphical development of the rhetoric image by initially capturing the images of the three objects for the composition (�lm camera, glasses and self-portrait with the glasses) and select-ing the best image in terms of focus and positioning. Next, with the help of Lynda and Youtube Pop Art tut-orials for Photoshop, I created my Andy Warhol-like style portrait through the use of ‘Hue and Saturation’ and ‘Layers’. Continuing in Photoshop with various texture experimentation for the image of the camera

(eg. posterize, threshold, stamp). Then moving into AdobeIllustrator, the composition was put together along with the text and logo. Continous developement and progress then occurred with many various arrangements of the order and positioning of images, change of colour palettesalong with typography and font until the �nal rhetorical image was tweaked and resolved.

RHET IMAGE 17

CAPTURE THE

FRAMEZ

MOMENT

RHET IMAGE 18

PRINCIPLESThe �nal Rhetorical Image for Framez utilises avariety of design principles and persuasive tech-niques to appeal to the demographic and com-municate its message. Appropriating the Pop Art aesthetic and Wharhol’s grid-like polychromatic composition, I created a bold composition in ter-ms of colour, shapes and form. As Photographywas a common strategy employed by Andy Whar-hol and Pop Art artists I decided to photograph the objects of the �lm camera, glasses and a por-trait of myself wearing glasses directly front-on to create a sense of continuity of the visual ima-ges in the entire composition. Wanting to bringattention to the lips I used a contrasted vivid colours to create a stronger sense of femininity and ‘style’ to further appeal to the demographic. The grid colour was speci�cally selected by what I felt complemented best in terms of the Pop Artstyle and young female appeal. Creating a balan-

ced and symmetrical composition where both the Rule of Thirds and Guttenberg’s Z pattern have been implied. The viewer’s eye following through the order of images and catchphrase, �nishing with looking at the product and its bra-nd. Gestalt’s principle of similarity and di�erences has also been incooperated by purposely having the �nal grid without text as well as with a bold pink background to emphasise the focal point of the advertisment, the product. A white band was added along the bottom of the composition to clearly visual the branding; the products name and logo. The composition is a Logos based rhe-toric that uses aliteral catchphrase, CAPTURE THE MOMENT to engage and persuade the audience to want and need the product, as well as to fur-ther establish the understanding of the purpose of the device.

RHET IMAGE VARIATIONS

CAPTURE THE MOMENT FRAMEZ

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FRAMEZ

NEVER MISS AMOMENTAGAIN

INFO DESIGN

INFORMATION DESIGNINFLUENCES

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The in�uences for my Information Design was primarily focused upon the continuing Pop Art aesthetic. Collect-ing a vaiours selection of sources, from an exempler shown during my tutorial along with Roy Lichtenstein’s Comic artwork style. Alike my design, the Pop Art in-spired Info Design below shows the consumer’s ‘before and after’ reactions and result of using the product to satisfy their needs, along with utilsing Tufte’s Micro-Macro principle to provide speci�c detail within theentire context to allow viewer to understand the

clearly (Turner, J 2015). This design alsoshows Tufte’s principle of Gestalt’ssimilarity, as the same �gure is usedin each image to make it ‘simple andeasier to read’ (Turner, J 2015). All concepts that I have considered and also implied to my design. Licten-stein’s inspired comic style of a you-ng female subject with speech bub-bles has also been used in my design. Furthermore, alike my Info Design, the comic strip above also shows Tufte’s principle of Micro-Macro, a-long with a successfully applied Pop Art and Lichtenstein’s comic style.

INFO DESIGN 22

PROCESSAlike my Rhetorical Image Process, my Information Design Process began with sketches in my journal which were then scanned and compiled in Illustrator along with creating the format and layout (mainly with the shape and �ll tools) of my envisioned design which maintained with the brand’sPop Art aesthetic and grid-like composition of the RhetoricImage. Along with watching many online video tutorials and alot of experiementation, the process was slow yet eventually successful. Using mainly the pen and �ll tools I traced over my images and photoshoped the images I originally took of my device during the contruction of the Adertisment, however photos of my phone were added and further edited in Photoshop that were to be used in my composition.

The typography used for the design was a selec-tion of various type of Pop Art fonts along with the original branding font for the descriptionof the instructions. The text instructions were adjusted and tweaked several times to create themost simple and straightforward directions for the consumer to understand immediately. The �nal step in the construction of the Information Design was creating the various quotation bubb-les for the composition, which were created in Photoshop and saved to be transparent to allow easy editing and arranging on the Illustrator �le.

23INFO DESIGN

CAPTURE THE MOMENT

FRAMEZ

Keep missing those special shots? Simple as a click

Immediately transferred to your device

24INFO DESIGN

PRINCIPLES

CAPTURE THE MOMENT

FRAMEZ

Keep missing those special shots? Simple as a click

Immediately transferred to your device

The �nal Information design utilised a variety of principles and techniques as well as e�ectiveapplied aesthetic style. Using Tufte’s design principle of Micro Macro to highlight detail in the context of the device’s use, creating a clear understanding of the process for the target audience. Tufte’s concept of Gestalt’s principle of similarity has also been illustrated by the use of the same �gure within the composition to create a sense of continuity and context. In terms of the Pop Art aesthetic, alike the Rhetoric image, to further develop continuity of branding and style, a grid-like formatting with a white band has been used, along with a very similar vivid and bold colour palette. Additionally, the same font from the Ad was used for the instruction decriptions to further reinforce the product’s branding. The text was created to be simple, short and direct for theaudience to have an immediate clear under-standing of the device’s functionality, as well

as considering the scalability for the packaging (larger font on the packaging, thus, easier to re-ad). Further typography and textwas added to apply Lichtenstein’s Pop Art comic styled by the use of speech and thought bubbles to essential-ly describe the needs and desires of the demo-graphic and how they will positively bene�t from having the device. The symbol of the pho-ne’s signal within the third grid represents the wi�/bluetooth connectivity, an icon that the young target demographic understands. Fur-thermore and alike the Rhetorical Image, the Info Design uses both Guttenburg’s Z pattern to allow theaudience to follow the instructions in order and �nishing by visualising the focalpoint and purpose of the deisign and bene�t from the product; the �gure’s happy emotion along with catchphrase and brand. Additionally, the design uses the Rule of Thirds to create abalanced composition.

PACKAGING 25

PACKAGINGINFLUENCESInspiration was taken from severalpackaging examples, in particularupright rectangular boxes. Along with the distinct and bright Pop Art styled designs, alike the Ralph Lauren collection and Ylure’s Katy Perry Pop Lashes. Particulary in�uenced bythe perfume’s bold Pop Art- like style branding and use of bright, vivd and constrasting colours, consisting alike the colour palette I’ve used for my designs and branding already.

Sweet Virtues Chocolate Tru�e packaging has also gath-ered my attention towards my Packaging design, with their concept of a rectangular box shape with a remov-able lid that is apart of the entire design. This concept and interactive concept of sliding the slide o� the boxto reveal the product or artefact and its attractive and

unique design that may position the consumer to keep and look after the packaging due to its appealing and interesting design, thus, the notion of design ing for sustainability comes into practice. A very important ele-ment which I have considered into my packaging con-cept for Framez.

PACKAGING 26

PROCESSInitial step for the rocess was creating my product’s packaging net showing the outline and folded areas which was created on Illustrator using both solid and dashed straight correctly measured lines. Two nets had to be created, for both the lid and bodyof the upside rectangular shaped box. Using the co-lours and images from both the Rhetoric Image and Information Design, aspects and bjects from both original �les were copied and transferred over to theNet to create its Bleed. Additionally, a barcode was generated online and pasted at the bottom of the product. An appealing and simple blurb was written and added to the packaging to introduce and des-cribe the purpose and bene�t of the product, along with the information design images. After complete �nalisation of the packaging, it was printed on two sheets of A4 glossy photo card and the package was physically constructed with double sided tape and photographs were taken to present the product’s packaging with the glasses (a prop for the device).

PACKAGING 27

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28PACKAGING

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PRINCIPLES

PACKAGING 29

The Packaging for Framez adopts the developed and coherent design style of the product identity and branding. The bold Pop Art aesthetic has been adapted e�ectively, inccoperating aspects and images from both the Rhetoric Image and Inform-ation Design upon the packaging to create a very consistentbranding upon the packaging also. The products distinct styleallows the packaging to be linked with its Advertisments, easilyidenti�able and recognisable to target audience. Furtherprinciples and elements used within the packaging includeits 3 dimensional form of a rectangular upright box, creating agrid-like visual with various bold colours for each side to keep consistent to the in�uenced Pop Art style and bright colours toengage and attract attention to the product through its pack-aging. The tangible aspect of physically removing and placing back the top lid creates an interactive and ‘playful’ element, by changing the rotation of the lid around to create and change

the colours of the packaing. In terms of sustain-able designs, the box packaging is created to the size of the glasses to reduce the amount ofunnecessary and wasted material. The bright,bold and distinct packaging creates an inviting and attractive design for the aimed demogra-phic to provoke the notion to keep the packa-ging instead of throwing it away. As if the box is saying “please don’t throw me away” ( Turner, J. 2015), which futhermore highlights anothersustainable aspect of the packaging design. The developed design style and product iden-tity within the Packaging along with the Rhet-oric Image, Information Design and Logo is certainly consistent and coherent as well as appealing and attractive to the target demo-graphic.

30PACKAGING

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35REFERENCES

DEVICE:Zion Eyez. (2011). Eyez by ZionEyez HD Viideo Recording Glasses for Facebook. Retrieved from https://www.kickstarter.com/projects/zioneyez/eyeztm-by-zioneyez-hd-video-recording-glasses-for

STYLE INFLUENCES:Arty Factory. (2015). POP ART. Retrieved from http://www.artyfactory.com/art_appreciation/art_movements/

The Art Story Foundation. (2014). Pop Art. Retrieved from http://www.theartstory.org/movement-pop-art.htm

George, J. (2011). Colour Theory 101 [Image]. Retrieved from http://www.sitepoint.com/color-theory-101-1/O’Donell, M. (2013). Gestalt theory of perception. Retrieved from http://courseweb.stthomas.edu/mjodonnell/cojo232/pdf/gestalt.pdf

Turner, J. (2015). DXB102 - 3 Design Principles: Colour & Form. [Lecture Powerpoint]. Retrieved from https://blackboard.qut.edu.au/bbcswebdav/pid-5681305-dt-content-rid-3908855_1/courses/DXB102_15se1/3_Visual%20Communication3-colour%2Bform%282%29.pdf

LOGO INFLUENCES:Fuente, L. (2014) Carrefour Logo [Image]. Retrieved from http://www.super-cars.club/carrefour-logo-images.html

Laken, P. (2011). OC Glasses [Image]. Retrieved from http://www.deviantart.com/art/OC-Glasses-261695833

Youtube. (2014) Using Youtube Logo [Image]. Retrieved from http://youtube.com/yt/brand/media/image/Youtube-icon-full_color.png

INFORMATION DESIGN INFLUENCES:Arnold, M. (2011). Pop Art [Image]. Retrieved from http://www.michaelarnoldart.com/Pop_Art.htm

Fauzulina, N. (2013). Pop Culture [Image]. Retrieved from http://fauzulianapsv712.blogspot.com.au/2013/06/pop-arts.html

Turner, J. (2015). DXB102 - 8 Design Principles: Information Design. [Lecture Powerpoint]. Retrieved from https://blackboard.qut.edu.au/bbcswebdav/pid-5681393-dt-content-rid-3878537_1/courses/DXB102_15se1/8_Visual%20Communication8-info-design.pdf

We Heart It. (2010). Pop Art Collection [Image]. Retrieved from http://weheartit.com/entry/group/16537165

RHETORIC IMAGE INFLUENCESDavis, J. (2013). Camera Review Canon Canonet [Image]. Retrieved from http://photography.urbane-fragmente.de/?p=1155

Foiret, C. (2009). Ray Ban Colorize Campaign [Image]. Retrieved from http://trendland.com/ray-ban-colorize-campaign/

Schmidt, J. (2010). Graphic Design 1: Jordan Schmidt [Image]. Retrieved from http://blog.lib.umn.edu/schm2054/gdi_jschmidt/

SoulLily. (2010). Audrey Hepburn Pop Art [Image]. Retrieved from http://soullily.deviantart.com/art/Audrey-Hepburn-Pop-Art-150657908

Taylor, D. (2014). Pintrest: Pop Art [Image]. Retrieved from https://s-media-cache-ak0.pinimg.com/736x/5b/41/22/5b4122e63d4298fbb8bc493fa090ee33.jpg

Walker, B. M. (2013). Beyonce’s Pepsi Ad Revealed [Image]. Retrieved from http://octobergallery.com/2013/02/26/beyonces-pepsi-ad-revealed/

PACKAGING INFLUENCES:Him Her Perfume Shop. (2015). Polo Ralph Lauren Big Horse Collection [Image]. Retrieved from http://www.en.him-n-her-perfume.com/ralph_lauren_polo-1.html

The Dieline. (2013). Sweet Virtues Superfood Tru�es [Image]. Retrieved from http://www.thedieline.com/blog/2014/8/26/sweet-virtues-superfood-tru�es